Art Exploration

UNNATI DEVANG MANKAD ART EXPLORATION

P R O F I L E I am Unnati Devang Mankad, presently studying in grade 12th from Gujarat, India.

I am a bubbly girl full of life and dreams for future. I believe in life as it comes, live to the fullest. I love and admire art, craft, music, movies and yes dance!

I come from a family which is associated with music, education and politics but unfortunately no design. I belong to a very sensitive and emotional family which I feel is a big quality for being a good architect.

I want to move ahead in my career with architecture as I find it very interesting and fascinating. I prefer to choose UK as a center of design and architecture as it offers more and more exposure. I feel London being a center of cosmopolitan architecture would fulfill my quest for learning art, design, technology and would inspire me to enhance my creativity. I am ready to work hard to fulfill the dreams I saw for my future as a good architect - an architect who design spaces not just beautifully and functionally but also sensitively.

UNNATI DEVANG MANKAD 16th November 1997

My portfolio portrays my work and exploration towards art and design. I promise to give my best efforts and dedication when given opportunities.

TABLE OF CONTENTS : 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

FUNDAMENTALS OF BASIC DESIGN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 01 FUNDAMENTALS OF COLOURS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 02 COLOUR MEDIUMS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 03 HUMAN ANATOMY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 04 HUMAN ANATOMY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 05 HUMAN ANATOMY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 06 HUMAN ANATOMY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 07 TRADITIONAL LOCAL ARCHITECTURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 08 LOCAL TRANSPORT DETAILS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 09 GRAPHICAL COMPOSITION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 GRAPHICAL COMPOSITION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 GRAPHICAL COMPOSITION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 OBJECT DRAWING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 OBJECT DRAWING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 OBJECT DRAWING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 OBJECT DRAWING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 STREETSCAPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 STREETSCAPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 PERSPECTIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 PERSPECTIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 TRADITIONAL LOCAL ARCHITECTURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 PERSPECTIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 PERSPECTIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 MEMORY DRAWING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 PERSPECTIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 MANHATTAN SKYLINE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 BIRD VIEW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 ILLUSTRATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 3D MODELING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 CASE STUDY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 PHOTOGRAPHY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

BALANCE

EMPHASIS

01

PROPORTION

SCALE

RYTHEM

STUDY OF FUNDAMENTALS OF BASIC DESIGN MEDIUM : POSTER COLOUR

PRIMARY COLOURS

SECONDARY COLOURS

LIGHT COLOURS

DULL COLOURS

DARK COLOURS

STUDY OF FUNDAMENTALS OF COLOURS MEDIUM : POSTER COLOUR

02

COLOUR PENCIL PENCIL

POSTER COLOUR

03

STUDY OF COLOUR MEDIUMS MEDIUM : MIX MEDIUM

WATER COLOUR

STUDY OF HUMAN ANATOMY MEDIUM : PENCIL COLOUR & INK

04

05

STUDY OF HUMAN ANATOMY MEDIUM : PENCIL COLOUR & INK

STUDY OF HUMAN ANATOMY MEDIUM : PENCIL COLOUR & PENCIL

06

07

STUDY OF HUMAN ANATOMY : DANCING MEDIUM : PENCIL COLOUR & INK

BIRD FEEDER

CLOCK TOWER

TRADITIONAL LOCAL ARCHITECTURE MEDIUM : COLOUR PEN

08

09

STUDY OF LOCAL TRANSPORT DETAILS MEDIUM : PENCIL COLOUR & INK

GRAPHICAL GRID COMPOSITION OF A BUILDING INSPIRED FROM PAINTINGS OF PEIT MONDRIAN MEDIUM : POSTER COLOUR

10

11

GRAPHICAL COMPOSITION OF CHAIRS MEDIUM : POSTER COLOUR

GRAPHICAL COMPOSITION OF A SCOOTER MEDIUM : POSTER COLOUR

12

13

STUDY OF OBJECT DRAWING & LIGHT AND SHADE MEDIUM : PENCIL

STUDY OF OBJECT DRAWING & LIGHT AND SHADE MEDIUM : PENCIL

14

15

STUDY OF OBJECT DRAWING & LIGHT AND SHADE MEDIUM : PENCIL & CHARCOAL

STUDY OF OBJECT DRAWING : TWO POINT PERSPECTIVE MEDIUM : COLOUR CHARCOAL & PEN

16

17

STREETSCAPE : ONE POINT PERSPECTIVE MEDIUM : PENCIL

STREETSCAPE : ONE POINT PERSPECTIVE MEDIUM : WATER COLOUR & INK

18

19

TWO POINT PERSPECTIVE MEDIUM : CHARCOAL

ONE POINT PERSPECTIVE MEDIUM : INK

20

21

TRADITIONAL LOCAL ARCHITECTURE : BEAM DETAIL MEDIUM : INK

ANT EYE VIEW PERSPECTIVE MEDIUM : INK

22

23

PERSPECTIVE MEDIUM : COLOUR PENCIL & PEN

MEMORY DRAWING : CONSTRUCTION SITE MEDIUM : COLOUR CHARCOAL

24

25

PERSPECTIVE FROM A ZAHA HADID'S SITE MEDIUM : WATER COLOUR & CHARCOAL

MANHATTAN SKYLINE MEDIUM : INK & COLOUR PENCIL

26

27

BIRD VIEW MEDIUM : INK & COLOUR PENCIL

FUN ARCHITECTURAL ILLUSTRATION MEDIUM : INK & COLOUR PENCIL

28

29

3D MODELING OF A GUITAR MEDIUM : THERMOCOL, WIRE, PAINTS

PROJECT DETAILS: Client Architect.

Project Associates Structural Consultants Contractors Site Area.

Built Up Area Project Cost

: M.F.Hussain : B.V.Doshi : S.L.Shah, Vishnu Joshi V.V.Ranga Rao, Lise Trottier : V.D.Joshi, Pune Vastu Shilpa Foundation : Western India Engineers : 1000 sq.m. : 230 sq.m. : Rs. 1,80,000

LOCATION: Located in the campus of school of architecture in Ahmedabad, this structure is a strange looking creature. The background possesses so plaster less brick structure which is the school of architecture and planning. The Hervit's gallery in the background is for exhibiting paintings as Gufa cannot exhibit paintings due to the uneven structure.

CONCEPT: Nearly 35 years ago when B. V. Doshi and Hussain met, Hussain had talked at length about underground spaces and their unique qualities. Hussain recalled this discussion when he visited Ahmedabad two years ago looking for a small piece of land for building an art gallery to exhibit his works. After visiting several places, Doshi took him to meet Piraji Sagara at the Ahmedabad Education Society Campus and he persuaded Hussain to agree to this site for his new gallery. They then completed the necessary formalities with Shrenikbhai Kasrturbhai, Chairman of the AES and Hussain asked Doshi to design an underground building, which he called the Gufa. But why "Gufa"? Hussain loves to be in direct contact with earth. That is the sole reason for him to be barefooted. He also emphasised that their Gufa should become a demonstration of a positive collaboration between a painter and an architect.

After giving a long thought Doshi came to a conclusion that in true architecture, one must experience joy and celebrations. It must affect one's inner self. It cannot be distinguished separately either as modulation of light or surfaces or supporting systems. On the contrary a good design merges floors, walls, ceiling into one continuous whole and creates an organic space almost like a living being. What it encompasses within and without its surfaces, are the voids, which generate energy.

This energy then reduced all stresses within all the elements that surround this object. The total environment then emanates peace and tranquility. The air becomes calm yet vital to become a small universe which is called Paradise.

The Hussain-Doshi Gufa expresses the personal tastes of exceptionally creative people, who occasionally touch us by the secrets the reveal by creating such a daring, undefinable, yet pure space. This complex painter and this serious architect are really very playful men and they bring you here to fulfill all your fantasies.

CASE STUDY OF HUSSAIN DOSHI GUFA

30

STRUCTURE: The structure looked like an extra- terrestrial object with protuberances like the watchful eyes of chameleon, curiously observing its surroundings. An enormous black cobra wrapped around the domes almost looked as if it is guarding the womb.

The entire construction of the Gufa was executed by hundreds of the adivasi tribal- men as well as women- who worked night and day. The basic structure of the domes, called 'panicula' shells, is made of wire mesh and ferrocement. The mortar was compressed over the wire mesh as if they were making bread. Because of the inherent strength of the ferrocement structure, the roof is only a couple of centimetres thick and can bear the weight of hundreds of people. These structures have no foundations - these are geodesic domes. It is a continuous structure. There are ribs on some of the domes which were used for the workers to balance themselves on. Though these are not required now, they have been retained as they blend in with the whole structure. Many load - bearing pillars, which held the original panicula shells, are no longer necessary, but have been kept to maintain this continuous structure.

INTERIOR: The interior is an unexpected experience. The inside is much bigger than one expects. The skylights that one saw as protuberances are not immediately visible, yet the light that they let in gives the Gufa it's ethereal quality. As the position of the Sun and the Moon changes the drama of natural light, the interior also changes, creating shadows of light.

The random columns of varying thicknesses, some even inclined appear like trees in a forest - if observed carefully. These are supporting elements, transferring the loads very gently.

Inside there are two rotundas. The whole space has its own natural acoustics and lends itself well to a dance or music performance, or a discourse on art and culture. There are free standing sculptures in black. These are real masterpieces of Hussain. They are stark in their simplicity. These are cut out images known as shadows. The flooring is made uneven to get a feeling of caves. This uneven flooring also hides spotlights and creates a distance between sculptures and the viewer. Later a kitchen and a toilet were added.

CONCLUSION: Doshi proved himself by creating a paradise, which he called it to be true architecture. A world of fantasy is explored within this interior.

PROCESS OF MODEL MAKING

Molding the shape of caves from wire mesh.

31

Cover with newspaper.

Apply plaster of paris in various coats.

CASE STUDY OF HUSSAIN DOSHI GUFA

Cut out light voids once dried.

EXPLORATION AND CONCLUSIONS I chose this space as my case study as it was a perfect interplay of architecture, interiors, art and light. I feel none of these are separable. I tried playing with lights, prisms and colour filters to see how internal underground spaces reacted and behaved and I came to some wonderful exploration results.

CASE STUDY OF HUSSAIN DOSHI GUFA

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CONFUSION

COMPOSITION

BEGINNING OPENINGS

PRECASTE OF LANDSCAPE AT MY HOUSE

HAPPINESS

DETAILING

FAITH RISED IN DIRT

PEACE GROUP

DETAILING THE TAJ

WORSHIP

ATTITUDE OF A HERDMAN FOOD DESIGN

LINES

33

DANCE

NEW HORIZONS

FAITH OF A BEGGER

PHOTOGRAPHY

AT REST

PERSPECTIVE

ORNAMENTATION

THANKS